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Vocal refrain by Jim Saturday; played by Spike Jones.
Digitized from a shellac record, at 78 revolutions per minute. Four stylii were used to transfer this record. They are 2.0 mil truncated conical, 2.3 mil truncated conical, 2.8 mil truncated conical, 3.3 mil truncated conical. These were recorded flat and then also equalized with RIAA.
The preferred version suggested by an audio engineer at George Blood, L.P. is the equalized version recorded with the 2.3 mil truncated conical stylus, and has been copied to have the more friendly filename.
Matrix number: E0VB-3403-1S
Catalog number: 20-5472
Related Music (Beta) question-dark
Versions - Different performances of the song by the same artist
Compilations - Other albums which feature this performance of the song
Covers - Performances of a song with the same name by different artists
|Dragnet - Walter Shumann;Spike Jones and his City Slickers;Jim Saturday;Spike Jones|
The recording on the other side of this disc was also digitized.
- 2016-10-12 19:34:38
- Internet Archive Python library 1.0.10
- George Blood, L.P.
If you can hear the difference between a 24 bit FLAC version and a 16 bit WAV version, I will give you my IRA. Really, I will.
Also, um, you need only post the version(s) that sounds best. You should also post a flat transfer (i.e., no compensation).
Also, this record was NOT recorded using RIAA (it is AES). Even after the advent of RIAA, only about 50% of released commercial records used RIAA because it, um, cost money to use the exact RIAA curve and it did not sound as sweet as it might. Plus, 78 RPMs are all over the place when it comes to the lathing compensation curve. Victor was THE BEST, and they employed a consistent AES curve with the turnover at 400 Hz and the rollover of -10 db at 10kHz. RCA also 'brick-wall', low-pass filtered ALL 78 RPMs at 10,000 Hz up until circa 1951.
There are some pretty good historic compensation charts out there on the web. Look for McIntosh's chart that came with the venerable C-8 preamp. It is easy to read and has all that you are likely to need. Remember that ALL acoustic recordings use NO compensation curve as they are ORGANIC! —I.e., make 'em sound as good as you can, and watch out for mechanical rumble noises (from the primitive lathes).
I use many compensating preamps, including the McIntosh C-8 and the C-20. Both, are excellent for what you are doing but, I had to completely rebuild them. They now exceed original specs by a nice margin due to improved modern components like resistors and caps. I get an extra 5db S/N out of ALL my valve-based preamps after I rebuild them with film resistors and poly-prop caps. Oh yeah, there is small company today named "KAB" that makes an GREAT solid-state compensating pre-amp for an excellent price. The owner is a fine engineer and nice guy. I have used his gear with great results. https://www.kabusa.com/frameset.htm?/accesss.htm
In the 1940s, they could not notch filter at well as digital can, but, with an 8 pole chevy-chev filter, RCA could get pretty darn close. The majority of the many record companies in the 1940s also brick-wall filtered at 10 kHz, although with less of a steep curve than RCA could get. So, you may want to remaster with this in mind.
Most adult humans cannot hear past 12-13k Hz and this is many db "down". This is why a lacquer from the 1940s can sound almost as good as a modern recording (e.g., listen to Miles Davis' "The Birth of The Cool" CD remaster —direct from the source part lacquer).
Note: In later years, most record companies simply took the RIAA curve and slightly altered it to sweeten the sound.
The 33 RPM has a lot less potential bandwidth than a 78 RPM. This is why RCA fought so darn hard against Columbia to make the 45 RPM the standard. RCA from circa 1920 to 1952 was tops in all commercial audio, —radio and recording.
In 1932 RCA did over a year of testing with vinyl (white!) and found that , even with lathing and playback cartridge improvement, that 33 RPM was simply too slow for high fidelity (i.e. 50 Hz to 15KHz with better than 50db S/N and less than 1% THD). RCA used the great Duke Ellington Jungle Orchestra for some of these tests. the sides are some of the best of that Ellington wera band.
On several 1932 Ellington sessions, RCA employed multiple lathes going simultaneously because they estimated they would need the extra lacquers for making the mothers and stampers. (The Duke sold better than well!). In the early 1990s two collectors accidentally discovered that the pressings they had (one on white vinyl lathed at 33 RPM), were actually recordings of the SAME performance, but with two different microphones placed about 15 feet apart.
Yep, they did the hard thing. They found a super engineer and synced the recordings into BINAURAL STEREO. —Yeah, there are some phase issues. —Yes, they could only synch about 5 seconds at a time before they lost the phase synch (no two electric hysteresis motors move exactly the same). This was done in 1991 or 1992, and digital was not good enough to use for the synching. Plus, to do that, —even today, you need a proper engineer who understands audio digital algorithms to do the synching. Anyway, I have these early binaural recordings and they are a hoot to listen to, as close to being in the Cotton Club as you are gonna' get!
It's ironic and telling that in 1996 Mark Linnett at "Your Place or Mine" Studios MECHANICALLY synched "Pet Sounds" into stereo from the source tapes! I spoke to Mark and he does not understand digital technology well enough to do it any other way. Also, the Beach Boys instrument and vocal recordings were done discreetly. —I.e. the music and vocals were recorded in separate tracks, —just not on the same tape reel. Remember; —no two motors move at the same speed. Anyway, had the vocals NOT been done separately (i.e. discretely) Linnett, would never have been able to make that nice stereo version of Pet Sounds.
I relate this story because most of the "professional" engineers today, have had no formal training (no book learnin'). Linnett started his own studio a long time ago and simply lucked out with acquaintances. Anyone can learn to twiddle knobs well enough to record most things today...fairly well. Mark is simply lucky, as Beach Boy re-mixes from studio source tape represents 90% of his income...forever. Like I said, if Brian Wilson had recorded as Frank Sinatra did (WITH the orchestra), he would have been, um, s--- out of luck as the phase offset would have been too great. Even a 5% phase variance will ruin a recording. It has an annoying swishing sound. Go ahead. Take a CD (perfect speed -no wow or flutter) and try to synch it with the phonograph record. Imagine how much more difficult synching is with TWO sources both from analogue machines.
The lesson: This is why EMI & The BBC, STILL, hire only college degreed engineers for their studios (E.E.'s usually).
Subject: Real Drag
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